| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blues and the Soul of Man Guitare notes et tablatures [Partition + Accès audio] Mel Bay
Guitar (fingerpicking) SKU: MB.30844M An Autobiography of Nehemiah Ski...(+)
Guitar (fingerpicking)
SKU: MB.30844M
An Autobiography of
Nehemiah Skip James.
Composed by Nehemiah Skip
James. Theory and
Reference, Squareback
saddle stitch. Style.
Book and online audio.
132 pages. Mel Bay
Publications, Inc
#30844M. Published by Mel
Bay Publications, Inc
(MB.30844M). ISBN
9781513464268. 8.75 x
11.75
inches. Skip James was one
of the most influential
early Bluesmen, but his
importance as a stylist
remained undiscovered
until he was brought out
of a long retirement by
the Folk/Blues revival of
the early 1960â??s. Born
in 1902 and raised in
Bentonia, Nehemiah Curtis
James was brought up in a
religious family: his
father was a bootlegger
who reformed and became a
Baptist preacher. Skip
learned piano in school
but picked up guitar from
his friend Henry Stuckey.
In 1931 Skip was picked
up by a scout for
Paramount Records and he
cut 26 tracks, of which
18 were released, in a
two day session at their
Grafton, Wisconsin
studios. These recordings
presented a unique and
haunting genius that
influenced legendary
bluesmen as Robert
Johnson, Kansas Joe McCoy
and Johnny Temple. But
the recordings sold
poorly, having been
released during the Great
Depression, and he
drifted into
obscurity. <
span style=font-family:
Arial;> We have included
as online downloads
Skipâ??s 1931
recordings. The crackling
sound of these rare
recordings cannot obscure
the brilliance of this
seminal Blues
master. After over 30
yearâ??s retirement from
music, Skip was
rediscovered by Blues
enthusiasts Bill Barth,
John Fahey and Henry
Vestine. They persuaded
Skip to appear at the
Newport Folk Festival in
1964, where his
renditions of his old
songs were still powerful
and moving. His
performances as well as
his old and new
recordings influenced a
generation of new
musicians: Eric Clapton,
Alan Wilson of Canned
Heat, Cream, Deep Purple,
Chris Thomas King, Alvin
Youngblood Hart, Derek
Trucks, Beck, Big Sugar,
John Martyn, Lucinda
Williams and Rory Block
to name a
few. Books on
legendary Blues musicians
written by white
musicologists tend to
offer a subjective
perspective on how the
artists felt, thought or
reacted. A tainted
picture is captured that
has more to do with the
writerâ??s social and
musical experiences. This
autobiography is
different. The words,
thoughts and feelings
come directly from the
artistâ??s lips. This is
the story of Nehemiah
â??Skipâ? James told
by Nehemiah â??Skipâ?
James. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto Violon Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, ...(+)
Orchestra Bass Trombone,
Bassoon 1, Bassoon 2,
Celesta, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Viola, Violin 1 and more.
SKU: PR.41641366L
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L). UPC:
680160585755. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. $180.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Granger's Fiddle Tunes for Guitarß Guitare notes et tablatures [Partition + Accès audio] - Débutant Mel Bay
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning
SKU: MB.31103M
Third Edition.
Bluegrass, Wire bound.
World. Book and online
audio. 236 pages. Mel Bay
Publications, Inc
#31103M. Published by Mel
Bay Publications, Inc
(MB.31103M). ISBN
9781513468792. 8.75x11.75
inches. Adam Granger
self-published the first
edition of
Grangerâ??s Fiddle
Tunes for Guitar in
1979. A second edition
was published in 1994.
Now Mel Bay Publications
presents the third
edition of the
book. This 236-page book
is the most extensive and
best-documented
collection of fiddle
tunes for the flatpicking
guitar player in
existence, and includes
reels, hoedowns,
hornpipes, rags,
breakdowns, jigs and
slip-jigs, presented in
Southern, Northern,
Irish, Canadian, Texas
and Old-time
styles. There are 508
fiddle tunes referenced
under 2500 titles and
alternate titles. The
titles are fully indexed,
making the book doubly
valuable as a reference
book and a source
book. In this new
edition, all tunes are
typeset, instead of being
handwritten as they were
in the previous editions,
making the tabs easier to
read. The tunes in
Grangerâ??s Fiddle
Tunes for Guitar are
presented in Easytab, a
streamlined tablature
notation system designed
by Adam specifically for
fiddle
tunes. The book comes
with a link which gives
access to mp3 recordings
by Adam of all 508 tunes,
each played once at a
moderate tempo, with
rhythm on one channel and
lead on the
other. Also included in
Grangerâ??s Fiddle
Tunes for Guitar are
instructions for reading
Easytab, descriptions of
tune types presented in
the book, and primers on
traditional flatpicking
and rhythm guitar.
Additionally, there are
sections on timing,
ornamentation, technique,
and fingering, as well as
information on tune
sources and a history of
the
collection.
Mel Bay also
offers The Granger
Collection, by Bill
Nicholson, the same 508
tunes in standard music
notation.
<
div> $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chambers of the Twilight Theodore Presser Co.
Chamber Music Cello SKU: PR.144404380 An April Homage. Composed by...(+)
Chamber Music Cello
SKU: PR.144404380
An April Homage.
Composed by Sydney F.
Hodkinson. Part. With
Standard notation.
Composed 2001. 11 pages.
Duration 15 minutes.
Theodore Presser Company
#144-40438. Published by
Theodore Presser Company
(PR.144404380). UPC:
680160030644. In
the mid-1990s in Memphis,
Tennessee, the Alabama
cellist Craig Hultgren
performed my trio Two
Poems (1989) with such
dedication, brilliance,
and comprehension that I
vowed to write him a solo
work in gratitude for his
labors. Chambers of the
Twilight is the result.
The single-movement essay
is through-composed -- it
was written in one long
day -- and entirely
constructed from the
juxtapositions,
repetitions, and
variations of three brief
gestures announced by the
soloist in the opening
measures. The separation
and congealing of these
three musical events --
alternatively dramatic,
melodic/misterioso, and
violent -- provide the
genesis for all of the
ensuing sonic material.
An extended coda --
marked delicato e lontano
in the score -- gives way
to large pizzicato chords
which bring the piece to
a close. The work
exploits fully the
dynamic range and
registral capabilities of
the cello, placing
considerable demands on
the dexterity and stamina
of the soloist. Chambers
of the Twilight is
approximately fifteen
minutes in duration. The
score was composed on
April 2, 2001, in
Ormond-by-the-Sea,
Florida, and was written
for the 2001 Hultgren
Solo Cello Works
Biennial. It is composed
in loving memory of my
maternal grandfather
Ernest A. Pilgrim, a fine
sculptor and
bridge-builder, and is
dedicated, with thanks,
to Mr. Hultgren. $24.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto For Flute And Orchestra Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flu...(+)
Orchestra Bassoon 1,
Bassoon 2, Celesta,
Clarinet 1, Clarinet 2,
Contrabass, Flute, Flute
1, Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone 1,
Trombone 2, Trombone 3,
Trumpet 1, Trumpet 2,
Trumpet 3 and more.
SKU: PR.41641515L
Composed by Behzad
Ranjbaran. Premiered by
the Philadelphia
Orchestra, Yannick
Nezet-Seguin, Music
Director, Jeffrey Khaner,
flute; Verizon Hall,
Philadelphia.
Contemporary. Large
Score. With Standard
notation. Composed 2013.
Duration 28 minutes.
Theodore Presser Company
#416-41515L. Published by
Theodore Presser Company
(PR.41641515L). UPC:
680160621750. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions. In writing my
flute concerto, I aimed
not only to highlight the
modern flautist's ability
to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages. Two prominent
characters permeate the
first movement of my
concerto. They are marked
in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively. The
lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others. In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. The solo flute is
left out in an agitated
middle section that
references the first
movement. In the third
section of the movement
the solo flute returns in
meditative fashion
culminating in a duet
with the harp. The third
movement is written as
one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
Some of the materials
from the earlier
movements are presented
again with joyous
character. The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. Â In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions.In writing my
flute concerto, I aimed
not only to highlight the
modern flautist’s
ability to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages.Two prominent
characters permeate the
first movement of my
concerto. Â They are
marked in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively.
 The lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
 Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others.In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. Â The solo
flute is left out in an
agitated middle section
that references the first
movement. Â In the
third section of the
movement the solo flute
returns in meditative
fashion culminating in a
duet with the harp.The
third movement is written
as one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
 Some of the materials
from the earlier
movements are presented
again with joyous
character. Â The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. $160.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Press Toward the Mark Chorale SATB Shawnee Press
Composed by Heather Sorenson. Shawnee Sacred. General Worship, Pentecost, Sacr...(+)
Composed by Heather
Sorenson.
Shawnee Sacred. General
Worship, Pentecost,
Sacred.
Octavo. Published by
Shawnee
Press
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| How Great Is the Lord Chorale SATB SATB, Piano [Octavo] Lorenz Publishing Company
By Mark Hayes. For SATB choir and piano (with optional organ, percussion, brass ...(+)
By Mark Hayes. For SATB
choir and piano (with
optional organ,
percussion, brass quintet
(trombone)). Sacred
Anthem. Choral octavo.
Published by Lorenz
Publishing Company
$2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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